REVIEWS

Critic Raúl Díaz… “In an important way the young and beautiful Enivia (Nedda) fertilized with a really beautiful lyric soprano voice managing it in a complete bearing and secure way, giving us the best impression because, beside all of these, she really tried to interpret the roll of a woman sick of her husband and life itself, who is completely in love with another man.”

 

Uno más Uno Newspaper.

 

 

Critic Lázaro Azar… “Just for the one who meant the night discovery: Enivia, whose vocal and histrionic qualities gave her Nedda so much passion, conviction and drama – essential in the truthfulness- that at the end of the day we wonder why we have not heard her more.”

 

Pro-opera Magazine

 

 

Critic Francisco Arvizú:… “Amazig Enivia’s debut, with a strong and sexy Nedda, a moving and intimate character. Devoted and emotional, Enivia is one of those Mexican singers that we should follow closely.”

 

                Carmen 2010, National Opera Company, criticism

 

 

Critic José Noé Mercado… Enivia – Every day a better singer by managing with intelligence and study her dramatic overtone instrument.

 

Pro-opera Magazine

 

 

Critic Raúl Díaz… Renewing trumps, Enivia with a very good tone, not just in text but in performance, with the perfect nuance and overtones in each circumstance; if her “Nedda” of Pagliacci was a revelation, here we can see that she is one of those figures that the authorities should take in consideration for future and better moments.

 

Uno más Uno Newspaper

 

 

Critic Ramón Jacques… Enivia was a vivacious Micaela according to her participation and good vocale shape.

 

Crítico Ramón Jacques...

Enivia era una Micaela vivace per partecipazione e in buona forma vocale.

http://unavocepocofa915.blogspot.com/2010/05/carmen-citta-del-messico.html

 

Peter Lefevre...Enivia carried the title role, moving from brutal drug maven to misunderstood retiree with poise and conviction — a deep, throaty, resonant voice and a strong emotive connection to the text, this was a woman in full. In the finale, Mendoza in a fluid, entrancing, unaccompanied solo, closed matters with mystery and defiance. The angelic beauty of Ortiz's melody had all the more impact, considering that just a few minutes earlier we had been watching a severed head in full flight.

 

Opera News,

 

 

 

 

© Enivia Muré 2015